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Participatory Art and the Politics of Spectatorship - autonomous ...

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illustration credits<br />

p. 137 Milan Knížák, Lying- Down Ceremony, Douglas University,<br />

New Jersey, 1967– 68. Courtesy <strong>the</strong> artist.<br />

p. 139 Milan Knížák, Stone Ceremony, Prague, 1971. Courtesy <strong>the</strong><br />

artist.<br />

p. 140 Stano Filko, Alex Mlynárčik, Happsoc I, 2– 8 May 1965. Bratislava,<br />

1 May 1965 (Workers’ Day). Courtesy <strong>the</strong> artists <strong>and</strong><br />

Galerie Lara Vincy.<br />

p. 144 Alex Mlynárčik, Edgar Degas’ Memorial, Bratislava, 1971.<br />

Courtesy <strong>the</strong> artist <strong>and</strong> Galerie Lara Vincy.<br />

p. 145 Alex Mlynárčik, Eva’s Wedding, Žilina, 1972. Courtesy <strong>the</strong><br />

artist <strong>and</strong> Galerie Lara Vincy.<br />

p. 150 Jan Mlčoch, Classic Escape, Prague, 1977. Courtesy <strong>the</strong><br />

artist.<br />

p. 151 Jiří Kov<strong>and</strong>a, Untitled (I arranged to meet a few friends . . . we<br />

were st<strong>and</strong>ing in a small group on <strong>the</strong> square, talking . . .<br />

suddenly, I started running; I raced across <strong>the</strong> square <strong>and</strong> disappeared<br />

into Melantrich Street...), 23 January 1978. Courtesy<br />

<strong>the</strong> artist.<br />

p. 153 Ján Budaj, The Lunch (I), 1978. Courtesy <strong>the</strong> artist.<br />

p. 154 Ilya Kabakov in his studio, reciting one <strong>of</strong> his Albums, Moscow,<br />

1975 or 1977. Courtesy Ilya <strong>and</strong> Emilia Kabakov.<br />

p. 156 Collective Actions Group, Appearance, 1976. Courtesy Andrey<br />

Monastyrsky.<br />

p. 157 Collective Actions Group, Pictures, 1979. Courtesy Andrey<br />

Monastyrsky.<br />

p. 158 (top) Collective Actions Group, Ten Appearances, 1981. View <strong>of</strong><br />

participants with <strong>the</strong> spool. Courtesy Andrey Monastyrsky.<br />

p. 158 (bottom) Collective Actions Group, Ten Appearances, 1981. View <strong>of</strong><br />

participants walking across <strong>the</strong> fi eld. Courtesy Andrey Monastyrsky.<br />

Chapter 6<br />

p. 167 Stuart Brisley speaking to workers at Hille Furniture Company<br />

constructing his sculpture <strong>of</strong> stacked Robin Day chairs, Haverhill,<br />

Suffolk, UK, 1970. Photo: Alex Agor. Courtesy <strong>the</strong> artist.<br />

p. 169 <strong>Art</strong>ists Placement Group, ‘Inno70’, Hayward Gallery, London,<br />

1971. View <strong>of</strong> ‘The Sculpture’ with participants. Courtesy<br />

Barbara Steveni <strong>and</strong> Tate Archive.<br />

p. 176 John Latham <strong>and</strong> Joseph Beuys at <strong>the</strong> conference ‘Streitgesprache:<br />

Pragmatismus gegen Idealismus’ (Discussion: Pragmatism Versus<br />

Idealism), Kunstverein Bonn, January 13, 1978. Photo: Franz<br />

Fischer/ Zentralarchiv. Courtesy Barbara Steveni.<br />

p. 180 Children outside <strong>the</strong> Inter- Action Centre, Kentish Town,<br />

London. Courtesy David Powell.<br />

367

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